Interview with an Ikebana Master
- Dana Zullo
- Oct 27, 2020
- 8 min read
Interview with Elaine Jo, Executive Master of the Ichiyo School of Ikebana and Author of, At Home With Ikebana.
(Nandina, White Lily, Red Carnations and Cedar in Bamboo Basket)
History/Education:
What are memorable lessons you learned from your teachers?
Two early lessons stand out in my mind. The first one relates to the selection of proper containers. After buying a few containers I came to realize that highly decorative containers are limited in use and a distraction from the impact of the material, and so I began looking for containers that I thought would inspire creative ikebana. I consulted with my teacher, Chief Executive Master Seisyu Shimojima, who helped me make better choices for Ichiyo styles.
Another lesson that I learned was related to becoming more aware of seasonal material. I had an experience that was embarrassing at the time, but I’m able to smile about now. It happened on a hot summer day when I walked into a flower shop and asked if they had any blooming camellia branches. Really, blooming camellia in July! The shop owner was very polite and took the time to explain that blooming camellias are only available in the winter. That experience began my awareness of the changing seasons of nature and became a turning point in my appreciation of the beauty of the earth. The shop owner was my teacher that day.
I attended occasional classes with Meikof Kasuya, the Second Headmaster of the Ichiyo School, who constantly reminded students that personal feelings toward the floral material are as important as styles and techniques.
Later, I studied with Akihiro Kasuya, the Third Head Master of the school, who modernized Ichiyo styles. He opened our eyes to the beauty of seeing floral material freely rising up from the water without being confined to limited container space when using a kenzan.
With the passing of Iemoto Akihiro Kasuya in 2018, his son and current headmaster, Naohiro Kasuya, is showing us new advances in ichiyo styles for modern times.
(Dried Upsidedown Manzanita Branch with Peony and Alstroemeria)
In Japanese, Ichiyo means “one leaf” and refers to the logo of the school. What is the symbolism of the “one leaf”?
The Ichiyo School was founded in 1937 by brother and sister Meikof and Ichiyo Kasuya. A stylized version of a Japanese Emperor Oak leaf was designed by Meikof to be the logo of the new school. The nature of the plant is that the old leaves do not fall off until new buds appear and this is seen to symbolize that the family lineage continues and that descendants will prosper.
Is there anything you would have changed in your ikebana journey?
No, nothing. It has been totally rewarding from the day I began ikebana until the present.
(Iwata glass container with Magnolia and Philodendron Leaf)
Why did you decide to become an ikebana teacher?
I give my sensei (teacher), Seisyu Shimojima, credit for influencing me to become a teacher because I saw and admired the way in which she enjoyed interacting with her students and they with one another. She was a masterful teacher in passing on knowledge and inspiration and drawing out the creative artist in each one of her students. Not only were they constructing beautiful ikebana, but at the same time they were growing personally as they developed confidence and a keen creative imagination. It thrilled me to see this happen and I thought to myself that I would like to give people the opportunity for that kind of personal experience.
(Eucalyptus, Hypericum and Gerbera)
What do you learn from your compositions?
I learn from every arrangement I construct that harmony in form comes from line, texture, color and space. When all of these things are achieved, the result is a well-balanced ikebana that has a feeling of being alive with something below the surface that is meaningful.
(Bamboo Basket with Bittersweet Vine and Yellow Chrysanthemum)
What do you hope your students take away from your lessons?
I would like my students to see beauty in all of nature; the flowers, trees, branches, leaves, grasses, etc., and to create with emotion and imagination. I would also like my students to understand that the benefits of their study include adding environmental beauty in daily life, development of patience, discipline, imagination, a sense of well-being, personal achievement, and sharing experiences with others. All of these combined improve the quality of life. I would also like students to understand that ikebana as an art form is a lifelong study and not to expect a timeline from start to finish.
(Dried and Painted Black Branch, Anthurium and Dried and Preserved Italian Ruscus)
Design:
What is your creative process like?
My friend and I sometimes comment on how we may start with an idea, gather our material together, study its features and then expect it to tell us what to do. At this stage the arrangement frequently takes on a life of its own and the end result is a creation that is spontaneous and natural.
Why is the art of ikebana attractive to you?
For several reasons, beginning with beauty. I find myself quiet and peaceful when I am in the presence of a beautiful ikebana, or creating an arrangement myself. I like the principle of asymmetry, too, because it allows for an endless variety of styles. On another level, as I expressed earlier, I am much more aware of nature and the changing seasons than I was before ikebana came into my life. Whether in the city or countryside, the earth has become exciting and interesting to me as it moves from season to season.
What characteristics do you want when selecting plant and floral material?
Selecting stems which have interesting curves and lines to create a sense of energy and movement. Color is another important consideration.
(Anthurium with Greens Leaves and Red Geranium)
What plants from your garden are useful for ikebana?
Spirea, eucalyptus, forsythia, hydrangea, camellia, pampas, quince, hosta leaves, aspidistra, cherry, nandina.
How would you describe your ikebana style?
Modern Classical
(Maple Leaves and Amaryllis in Antique Wood Wishing Well Container)
Future:
What are some ways that ikebana leads us into personal growth?
I think that personal growth comes when we begin to realize and accept the fact that things do not always turn out as expected and to be prepared for surprises, to accept and nurture our emotions and to use them to benefit our lives and the lives of others.
(Lotus Bud, Alstroemeria, Gypsophila)
How has your study of ikebana influenced other areas of your life?
Ikebana has given me a wide circle of friends who have enriched my life in many ways. It has helped me to know, admire, and deeply respect the culture of other countries, especially Japan where the art of ikebana originated.
I have also come to know how diverse the world is in people and in floral life, but how similar they are in response to beauty as they find it through ikebana and other media.
How do you see ikebana changing, if at all, with current designers?
In the past, the variety of flowers on the market was limited and arrangements tended to use less material as compared to today’s ikebana. Some might say they were “minimalistic” as they emphasized the beauty of space. These arrangements continue to be highly regarded, but with international floral trade at a high level and large quantities of flowers available from all over the world, the current trend is to add more floral material, resulting in designs that are more complicated and stimulating, allowing artists to freely express themselves according to individual taste. It’s a new world bringing many opportunities to discover new experiences with flowers and branches as they interact with one another.
(Calla Lily Leaves with Daisies and Gold Mizuhiki)
What is the best advice you have for new ikebana artists?
My best advice to new artists is to always remember that ikebana is not simply a pleasant pastime pursuit but a complex art form that requires a lifetime of study and a good deal of patience.
How has ikebana evolved during your lifetime and where do you see it going?
One of the most significant ikebana evolutions in recent years is the way in which ikebana schools have moved away from being in competition with one another to begin a new era of working together for the benefit of the total art of ikebana. Akihiro Kasuya, the third headmaster of the Ichiyo School, was part of a group of headmasters who formed An Association of Ikebana Schools to bring about this movement of cooperation between schools.
Each headmaster contributes to the evolution of ikebana in some way as they bring new ideas to their students. For example, Meikof Kasuya, expanded the completely new idea at the time of displaying ikebana in public places rather than strictly being placed in the traditional Japanese tokonoma. It then followed that he developed the concept that arrangements should be designed to enhance the space in which they are placed. He further developed a progressive curriculum in both Japanese and English and he was a pioneer in traveling to international countries to introduce ikebana to the world.
Ikebana evolved further through the creative ability of Akihiro Kasuya who continued his father’s legacy, but went on to specialize in balancing material without the use of a kenzan, a concept now taken for granted with all schools of ikebana. He published four books and chose bamboo as his trademark. He modernized Ichiyo styles and his arrangements had clarity of form. His arrangements sought to create original ikebana for modern lifestyles and environments. He further emphasized the importance of students creating out of their interconnection with the material.
All of these developments are now recognized culturally in the wider world of ikebana.
Evolution takes time and cannot be forced and sometimes does not show itself until much later, but we can see glimpses of it now in the work of Naohiro Kasuya. His work is showing us a new trend in ikebana as he uses more material in his arrangements, giving the impression of a new freedom of expression within the same traditional rules of construction. We are seeing this trend in other schools as well. He also uses Zoom to make workshops available to Ichiyo members internationally.
When asked about ikebana of the future, here is Headmaster Naohiro's answer:
“I believe there will develop an environment particular to the 21st Century and flower arrangements will adapt to the era as people act on their wishes for a better life.”
Is there anything else you would like to share about ikebana?
The Japanese artistic and cultural aesthetic as seen today developed from ancient ideals that emphasized taste and beauty as a model for both art and daily life. The traditional arts of Japan clearly reflect this standard of excellence and I am glad to have had the experience of following where it has led me.
-Elaine Jo, Executive Master of the Ichiyo School of Ikebana
Elaine Jo is a flower arranging teacher, demonstrator, and exhibitor of the Ichiyo School of Ikebana. She lived in Tokyo, Japan, for 21 consecutive years and received her Master Degree from the Ichiyo School during that period. She likes to arrange both classical and contemporary ikebana but contemporary is her favorite.
After returning to the United States in 1989 she began teaching, traveling, and giving ikebana workshops and demonstrations. She was Founding Director and President of the Ichiyo Art Center in Atlanta, Georgia while it was in operation between 1994 and 2005. She appeared twice as guest demonstrator for the Lynette Jennings national television program. She has publications in Japan, Belgium and the United States. She is an active member of Ikebana International.
In 1998 she was awarded an Executive Master Degree by the Ichiyo School and in 2009 was appointed President of the newly formed Atlanta Chapter of the Ichiyo School and maintained that position until October of 2021. She resides in Lincolnshire, Illinois.
-Interviewed by Dana Zullo Member of Ichiyo Ikebana of Atlanta
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